Essential Fashion Illustration Color and Medium

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Copyright © 2008 , 2011 by maomao publications
First published in 2008 in the United States of America by
Roc kport Publishers, a member of
Quayside Publishing Group
33 Com mercia l Street
Gloucester, MA 01930-0589
Telephone: (978) 282-9590
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Digital edition: 978-1-61060- 142 -9

Softcover edition: 978-1-59253 -430-2
ISBN-13: 978-1-59253-430-2
ISBN-lO : 1-59253-430-9
10 9 8 7 6 54 3 2 1
Publisher: Paco Asensio

Editorial coord ination: Anja Llorella Oriol
Text edition: Maca rena San Ma rtín
Art director: Emma Termes Pa rera
Layout: Maira Purman
Photogra phy: Gogortza & Llorella
English tra nslation: Jay Noden
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lntroduction
7
Pencil Marker
Tamara Villoslada Rosa Bocharán
8 74
Watercolors ~ Gouache
Verón ica Ba llart .:=;. Loreto Binvignat
30 ~
~
96
nó .00
Pastels
Aleksand ra Budnik
~ Mixed Tech niques
and Digita l lllustration
52 118
\\
Fash ion il lustrati on is a fundamenta l tool fo r cotto n. Each of these examples w ill be better
presenting a designer's creations. Not only does represented, acco rding to thei r texture and
it need to be an aesthetica lly pleasing image, but perception of color, by way of a differe nt
also it likely has to provide certain information and technique.
show certain qua lities of the clothing. When
sketch ing a new creation a fas hion designer wi ll As a gui de to setting out in the fi eld of fas hion
most li kely not draw a hyper- real istic illustration, i ll ustration, this book teaches readers how to use
but instead is more likely to produce an image five of the most classic techniques: pencils,
w ith exaggerated propo rtions, an ideal ized watercolors, pastels, gouache, an d markers.
silhouette which shows off the ga rment's ma in Each of these is developed by a different il lustrator,
characteristics. However, to be able to do this first al l of whom are professio nals w ith close links to
and foremost it is necessa ry to know how to the world of fashion. Step-by-step, didactic
ill ustrate. This is why it is important to know how exercises show how to apply th e tech nique in
to use the different techniques that exist for question , each of their different qualities, and the
transferrin g the properties and characteristics of a different methods that exist to attain different and
given item of clothing onto paper. Since the ai m of varied results . The ill ustrati on of a figure dressed in
fas hion illustration is to rep resent the design in the an outfi t constitutes a final exercise for each of the
best way possible, it is fu ndamental to ta ke into techniques. Consequently, as well as seeing how
account wha t material th e garment is made of an il lustration can va ry from one tech nique to
when deciding wh ich tech niq ues to employ. Eac h anothe r, an array of d iffe re nt ill ustration styles
materi al has a different texture, some materials are can also be appreciated: the same task given to
shiny, li ke satin, others opaque, li ke linen , some five different il lustrato rs may result in five tota lly
are sem i-transparent , li ke tulle, and others are different illustrations. As an accessory to these
thicker, like felt. These different textures affect the techniques, the final chapter of this book visua lly
perception of the co lor. White satin , for example, explores other forms of ill ustration, both digital and
does not have the same appearance as w hite hand produced.
wool, and blac k leather is not the same as black
·-----------------------------------------------------------------------------------------------------------············-··-······-··········-··------------------------------------------------------------------
Pencil
Pencil is is th e most basic and tradi tional of drawing med iums, and has become fu ndamenta l for creating black areas, and provide a higher degree of flexibil ity
universa l tha nks lo its versatilily and accessib ility. lts use ca n help achieve and expression. The hard leads- known as H from hard- are dryer and grayish in
illustrations wilh a high level al delail and it is ideal lar represen ti ng volumes, tone; they produce a l ine r, lighter line, so they are olten used lor sketches and
shadows, lights, and high light s in a piclure . ll is easy lo erase, allowing it lo for detail work . The re are also penci ls with lots al difieren! color leads, although
be used as a base lar drawing, regard less of lhe lechnique u sed alterwards to learn to use them and master the technique , for example comb ining them and
for applying co lor. There are two types of leads, sofl and hard . Soft pencils- controlling the intensit y of the line, it is best to start with just the bas ic colors-
idenlified with lhe letter B (B for black)-produce a very dark line, mak ing the m cyan, ye llow, and magenta .
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Tamara Villoslada
Tamara was born in 1977 in the town of Esqu el, in Argentinean Patagon ia. magazines all over the wo rld. She has designed T-shirts fo r the Japa nese brand
Alter several moves she even tu al ly arrived in Cordoba, where she studied Gran iph and íllustrated obj ec ts for Poke to (Los Ange les and Japan)-work that
art and comm unication science and formed part of the Bistró Casares mu lt i- was exh ibited ín Barcelona 's Dud uá store . In t he publísh ing sector, he r most
disciplinary group. In 2002 she decided to move to Barcelona, where she recent project was to illustrate El templo de la ciencia for the pub lishing ho use
directed her caree r in art toward il lustration, alter having com pleted a post- Ed itoria l Planeta .
grad uate course in the Escuela Eina. Her illustrations have been published in
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Pencil Tamara Villoslada
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Sketches are made of the The 1in es th at are not goi ng

possible ways to express the to be used are cleaned, and
qua lities of t his blouse wit h a pencil of medium hardness
a pleated coll ar. Since t he is used to draw the deta il s of
blouse in this case displ ays t he bl ouse . The fold s of the
tra nspa rencies and is made collar are outlined, taking
from particu larly fi ne fabric, i nto aeco u nt the way in
show ing it loose-on a wh ich th e neck falls in arder
hanger for example- to strengthen its real vo lume
accentuates its 1ightweight, and perspective .
delicate appearance.
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Blouse with Pleated Collar
Finally, the light and shadow

are defined. Specia l ca re
must be taken for the areas
of transparency, where th e
different overlapping layers
and textures must be
pe rceived. These areas ca n
be darker, thereby simulati ng
a greate r concentration of
material.
• ·······-··-······-····-······-··-···-·····--···-··-···-··-···--·····-···-··-···-··-····-·-··············-··············-······-··-···-······-···-··-···-··-····-·····-···-··-···-··-······-····-··-······-···-···
Since color w il l be the most With the same color penci l

prom inent feature of th is the pattern for th e rest of the
illustration, a graphite pencil jersey is drawn. The volume
is not used to sketch the of the garment must be taken
garment. lt is done directly into account and how th is
with colo r-with a special affects the design; the pattern
color pencil, which is easily becomes na rrower at the
erased- so that afterward si des and wider in th e
these lines integrate easily middle .
with the final drawing.
--··---------·----··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Multi-Colored Zigzag Jersey
Once all the co lors have

been applied , the lines are
strengthened by applying
more pressure where the
pattern requires more
presence, li ke in the midd le
section or the parts with
shading. Gently applying
co lor creates volume, wh ile
also respecti ng the pattern .
• ·······-··-······-····-······-··-···-·····--···-··-···-··-···--·····-···-··-···-··-····-·-····-·········-··-···········-······-··-···-·····--···-··-···-··-···--·····-···-··-···-··-······-····-··-······-···-···
A figure is sketched in a The figure is outlined and th e

pose that shows off the details of the skirt start to
skirt. Given the volume ta ke shape. The rest of the
and the fal l of the garment, clothing must be simple to
a three-quarters position avoid visual ly competing with
is chosen. The genera l lines the item bei ng shown. The
of the skirt and the main line that outlines the figu re
fo lds fo rmed by the volume should be left as clean and
are sketched with a hard defined as possible.
pencil (2 H).
- -----··--------··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Balloon Skirt
The shadows are drawn, first

through areas sketched w ith
a medium pencil (HB),
which al lows us to test the
effects of the eh iaroscuro and
the vo l umes. The fi nish is
done with a propelling pencil,
which , thanks to its sharp
end, offers greater precision.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
A sketch is done of th e The checks are drawn w ith

trousers in movement, to a del icate line, whic h is easy
represen! the patte rn in a l o erase (2H pencil) . lt is
more rea listic way. Deta ils importa n! to ta ke specia l care
such as the waistl ine , to respect the fo lds in the
buttons, pockets, and belt fabric. The lines of the
loops are drawn, and the pattern appear, disappear,
textu re of the tro user cuffs and fold in these areas.
is also represented.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Loase- Fitting Tartan Trousers
The lines in areas where

there is more shade are
strengthened and th e deta ils
are fin ished with greater
accuracy. With a soft lead
propel ling penci l (8 ty pe)
high definition can be
ach ieved even in dark areas
where the line seems to
overlap with what's beh ind.
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
1
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The figure is drawn in an The figure, which has taken

appropriate postu re for shape from the previous
showing the coat. A frontal sketches, is outlined. The
pose al lows the viewer to details of the coat, the
apprecíate the details. The main creases, and fai nt
vol ume of the coat and the shading are drawn.
main li nes are sketched and Representing the highl ights
the figure is given boots, w ill be fundamental in
w hich do not interfere with demonstrati ng the qua lity
the ensemble. of the polished material.
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Patent Leather Sixties Overcoat
Different q ual ity penci ls are This coat ca n also be done in

used and areas are left white . color, since in this case it is
Wit h soft pencils (3 or 4 B) the strong contras! in shades
bo ld strokes are u sed to that gives the garment its
achieve almos! comp letely character. Creating bright
black areas, which contras! reds and still leaving other
with the areas left w hite, areas white, w ill achieve
wh ich represen! t he shi ne the same shiny effect.
of the leather.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
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Different sketches of the A hard pencil (2H) is used lo

hand are drawn to fin d a d raw the fi rst detai ls of the
position that is visual ly lace, since this is the in itial
attractive. Since the fa bric sketch. The pattern is add ed
has a lot of textu re and to, ta ki ng i nto accou nt the
detai ls, when the ha nd is hand's morphology, the
more outstretched these indents, an d folds. Once the
characteristics of the glove outli ne has been defined , the
can be better appreciated. lines are strengthened with
an HB penc il.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- ----- -·
Lace Glove
Vo lume is given to the glove

by coloring with diffe rent
pencils, from HB for the
more transpa rent areas up
to 3 or 48 to achieve the
da rke r sections. Keep in
mind , the level of darkness
of the different pencils also
depends on the pressu re
applied .
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
The hat is begun by way of a The edges of the hat are

reasonably detailed initial defi ned using a penci 1of
sketch. lt is importan! to bea r medium hardness . The
in mind that th e texture of details are outlined and
th e material of the hat and textu res-of the hat, hair
the volume of its flower need and mouth-added, always
to be seen. This is why the considering the light, in this
best option is to do an initia l case from above, and the
drawing. are as of shadow that th is
wil l form.
--·---------·····-··-···------------------··-------------------------------------------···---···--·------·-···--···---···----·-·----···---------··-·----·-·-----------------------------·-··--···------·--·-···--···----··
Sun Hat w ith Flower
Pencils of di fferent ha rdness

generate levels of darkness,
which give the hat structure,
leaving areas of sha rp
contras!, w h ich better define
the figure. Specia l attention
is pa id to the vo l u me of the
flower, exaggerating a little
to allow it to stand out in
the compos iti on.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
A sketch of the boot is done, Once the figure ha s been

marking the main elements defi ned, the line is cleaned-
like the heel, buckle, cuts of w ith the help of an eraser-
the leather, and the texture and the defi nitive li nes a re
of the fur. Quick and accurate drawn in . Greater pressu re is
pencil strokes are used for applied to the pencil in arder
this , wh ich begin strongly to obtain a fi rm , defined
as they come fro m the boot, stroke. The shading is added
and weaken toward the end. using different levels of
darkness.
- -----··--------··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Boot with Fur
The grad ient shading

depends on the fronta l-lateral
light that th is boot receives.
For the hai rs, a propell ing
pencil is used since this
provides a finer 1ine; it is
recommendable to combine
leads of diffe rent hard ness to
achieve darker or grayer
tones.
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
t J
Sketches are done to define The different ga rments are

the figu re. Once chosen , the drawn on the figu re with
figure of the girl with the ce rtai n detail s, includi ng the
clothes on is insinuated . lt creases of the waistcoat,
is drawn with light strokes the shirr of the sleeves, th e
made with a very hard penci l highlight from the glasses,
so that after the li nes are the facial expression , the
erased and the drawing is creases of the Boulloné skirt,
left clean . the sale, and shad ing of the
boots , etc.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Outfit with Bou lloné Skirt
In this step the figure is The first details are drawn,

outl ined more fi rm ly and with without adding the light or
a clea n line, using a med iu m shad ing. The details of the
hard pencil (HBl. More shirt pattern and the motifs
pressure is applied for areas on the leggi ngs are then
whe re there is more shad ing drawn. paying special
or defin ition and the pencil attention to the projection
line is weaker in light areas, of th e different textures.
in order to suggest vol ume
and light.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
The volumes are modeled A color is integrated into the

through darker and lighter composition so that it does
gray areas. The areas of not appear excessively
shading are determ ined and monotonous. Since the gray
spaces are left white for the from the graphite dominates
highlights , the reby creating the composition, it is
gradient shad ing. To create important to carefu lly choose
intense blacks a B pencil the areas where colo r w il l be
is used. applied so that it is not lost,
which may ha ppen if it is
applied toa dark area.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Outfit with Boull onéSkirt
Co lor is also applied to The last step is lo go over the

the bracelet and leggings, fina l details w ith a propell ing
depending on the vo lume pencil , wh ich allows for more
of th e leg and w ith out detailed work. To finish the
considering thei r pattern. composition , an extra touch
Greater co ntras! is achieved of co lor is added as
between th e tones of decorati on a nd to give the
garments like th e ski rt composition persona lity,
and the boots, in order to without taking anything away
enhance t heir body and fro m the figu re.
denote t he volume.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
Watercolors
This is a techni que of painting with colors diluted in water. The colo rs used are way in wh ich they are employed, the use of watercolo rs of fers ma ny possibilities ,
transparent, and t heir opacity depends on th e amou nt of water used to mix such as even was hes, co lor overlaps , and gradation. lt is also possible to create
them. Th ese co lors can be found in va rious forma ts, such as tubes, bloc ks, different effects with different app lica tion methods, such as with a spo nge or
wa terco lor pencils, and as liqu ids. The most comm on support for wo rk ing with scraper. Thanks to these characteristics, it is t he ideal tec hnique for representing
th is tec hnique is paper. With the wide variety ava ilab le, t he most adeq uate is one transparencies and light fabrics, such as sil k or ga uze .
that has a higher basis weight than normal pa per, which can be found in differe nt
textu res and colors. The tool most often used to apply it is the brush. Due to the
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Verónica Ballart
From a very early age Verónica Ballart (Stockholm, 1979) felt a strong inclination standard of work, she continued at the compa ny fo r ayear after having finished the
toward drawing and fash ion. Her first studies focused on graphic design, after wh ich placement. Following this she worked for Incites, a fashion design studio, creating
she moved to Barcelona-where her mother was born-to continue the sa me degree graphics and illu strations fo r clothing. Today she works as a freelance graphic
in the design schooi iDEP. Her work placement in the graphics department of Mango design er and illustrator, collaborating with various brands and compan ies. Her
presented her with the opportunity to ap ply her designs to T-shirts. Due to her high inspiration comes from her travels, the street, books, and magazines.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
Watercolors Verónica Ballart
First the figure is drawn with Once dry, the top is painted
a pencil, without too much in a light shad e, in this case
attenti on to detai l. Before gray, and a fai rly di luted layer
co lo r is added, the area of is app lied so that the skin
paper that will be painted on color is still perceptible. lt is
is moistened with a brush. recommendable to use few
After wa iting a few minutes brushstrokes, in order to
the skin tone ca n be appl ied avoid the brush leaving
to the entire body, includ ing water marks.
the top.
--·---------·····-··-···------------------··-------------------------------------------···---···--·------·-···--···---···----·-·----···---------··-·----·-·-----------------------------·-··--···------·--·-···--···----··
Semi-Transparent Top
• ••
• •
• •
Shading is created to donate The last step is to paint in

the volumes and emphasize the details of the illustration .
folds and creases. To do this, Todo th is, a fairly undiluted
various layers in darker watercolor is used, w hich is
shades are applied, whic h applied w ith a fine brush that
are pai nted over the who le allows sma ll elements to be
body, including the top. To painted like the polka dots,
create a greater variety of folds in the arms, edges of
texture, different tones are the top, eyes, and mouth,
used. etc.
· ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·---------·---------·--------··---------
The first step is to draw the With a liqu id waterco lor and
figure with a propeller pencil. a med ium-thick brush, the
In th is case, not on ly is the base co lor of the blouse is
outline is drawn, but also the evenly applied. The area of
pattern on the blouse and the pattern is left wh ite,
details like buttons, fo lds, or since this will be done in
flounces, wh ich wil l make a differen t range of colors.
it easier lo then apply co lor. Once the base co lor is
painted, it is left to dry
completely.
- -----··--------··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Flowery Blouse
For the pattern, a fi ne brush

is used that allows for a
greater leve! of deta il. Fi rst
the lighter colors are evenly
applied- the pink in th e
flowers and th e brown of the
branches- and over them
the details and the shading
are added using colors like
viole! and gray.
• ·······-··-······-····-······-··-···-·····--···-··-···-··-···--·-···-······-···-··-······-··············-··············-······-··-···-··-···-···-·--···-··-···-··-···-······-···-··-······-····-·········-···-···
) í
( .-
The garment is drawn in Va rious layers are applied in

detail with a pencil. The area different tones of each color,
of the paper w here color wil l w ith the aim of form ing the
be applied is moistened and, different volumes. lt is
after wa iting unti l it is almost importan! to take into
dry, the first layer ca n be account the di rection of the
applied even ly and with a light in the drawing to create
fa irly diluted waterco lor. shadows where they are
This helps to achieve needed and leave the areas
greater textu re. that receive most light white .
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Silk Blouse w ith Bou ll oné Sl eeves
Once va rious layers have Once the desired volume

been appl ied with co lors t hat is ach ieved , darker colors
are darker than the ba se, a are appl ied- da rk blue and
cotto n swab is used on t he black. These are used for
wet waterco lor to spread out the final deta ils, such as th e
t he quantity of pa int. Th is folds, creases, and buttons.
ach ieves greater control over A fine brush w ill afford the
t he vol umes, lights, work greater accuracy.
highl ights, and shading.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
The fi rst step is to draw the With a th ick brush, a fi rst

figure in penci l. Beca use the layer of co lor is applied in the
material is transparent, it is softest tone fou nd on the
necessa ry to d raw the garment. When using a th ick
sil houette of the legs, as wel l brush on a small surface, it
as the outli ne of the tro users , is important to be very
as the legs can be seen ca reful to avoid mixing the
through the cloth. The folds different colors.
an d knots in the fabric are
also drawn.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Loase-Fitting Lurex Trousers
In arder to clearly show that it With a da rke r color (li lac)

is a semi-tra nsparent material, and a fine brush , the
the area correspond ing to the volumes, folds, and creases
legs is painted in a da rker of the trousers are formed.
tone tha n that of the base of Todo thi s, the position of
the trousers. The first sha ding the legs is not ta ken into
is also appl ied with this cons ideration, and the
darker tone. trou sers are considered
as a who le. Co lor is also
applied to the area where
the legs a re.
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
First of all, draw the outl ine The fi rst volumes are created
of the skirt w ith a pencil . lt is by applyi ng various layers of
not necessa ry to draw the different co lors within the
details, but on ly to mark th e same ra nge, which also
main folds of th e cloth, as a enrich the texture. The
guide for applying co lor. Afte r central area receives most
a first layer of co lor, the base light and should therefore be
color of the skirt is appl ied. left lighter than the others.
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Jacquard Skirt
The last step is to pa int the

pattern onto the dry ski rt.
Th is is done with a very fine
bru sh and a reasonably th ick
watercolo r. For the white
deta ils it is bette r to use
gouache, since w hite
watercolor is very difficult
to see when applied over
darker colors.
• ······················-······-··-··········-···-·········-··············································-··············-·············-··········-··-······-····································-·········-·······
' 1
The coat and al l its details, Once the liqu id mask has
li ke buttons , belt, pockets, dried , the coat is pa inted . To
folds, etc., are drawn in do this, color is applied to al l
penci l. With a fine brush a of the coat's surface in a light
"liq uid mask" is applied over shade of brown, with a fa irly
the lights and details of the diluted watercolor. lt is not
coat, which , when fin ished, a problem to pa int over
are meant to be lighter. the mask.
--·---------------·------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Leather Overcoat
Different layers are applied Careful ly take off the mask

with different mixes of w ith a craft kn ife or tweezers .
browns. A thick wate rco lor To avoid damage, the mask
is used , since th is w ill help shou Id not be left on for too
to ereate the effect of the long. Once it is taken off
skin. Also, lo accentuate this completely, the areas are
effect, it is importa nt to wa it pa inted in a light tone, so
for ea eh layer lo d ry befare that the details and the lights
applyi ng another. sta nd ou t.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
A fi ne-poi nted soft penci 1 is The next step is to color the

used to draw the figu re w ith bathing suit. Begin with a
th e bathing suit, marking the very pale and diluted gray,
d raping on the ches!. With a taking into account th e
medium brush , the pa per is di rection of the 1ight. Beca use
lightly moistened w ith wate r in this case , it is coming from
on the drawn figure. Once the left-hand sid e, fewer
this is almost dry, a skintone layers are applied on that
is applied to the body. side so it appears brighter.
- -----··--------··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Draped Bathing Suit
Once the base is co lored and The last step is adding the
while it is stil l wet, the details; the creases and the
vo lumes are created w ith a outl ine are pa inted with an
less diluted, darker shade of almost black-gray to better
gray. A fine brush is used fo r define the figu re. To
th is, marking the folds th at incorporate a little color,
are formed by th e draping on bracelets are painted,
the chest, as well as the applying the dil uted color
shad ing on the bathing suit. directly onto the skin.
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------··--------··--------··--·
¡~1
To better appreciate the Next, the dress is given color.

transparency of the shawl, This is done fi rst with very
the figure is drawn from the diluted layers of pi nk, which
back. This is done in pencil, gradua lly create vo lume. As
marking the ma in fo lds and was the case with th e skin,
overlaps of th e fa bric as well the area of the dress cove red
as the outline. Then the skin by the shawl is also given
is given a fa int colo r, color to aeh ieve the effect
inc ludi ng the areas that the of transparency.
shawl covers.
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Sheer Shawl
Color is applied to the shawl The deta ils are pai nted using
with a th ick brush. In the a finer brush. The creases
areas where it covers the skin and folds of the shawl are
or the dress, it appears marked with a darker shade
darker, and where it is alone, of gray, fo llowing the fa ll and
lighter. For greater control, movement of the material.
it is recommendable to work Color is applied to the dress
with a reasonably diluted tie and th e hair, and the
watercolor and apply severa l shadows are added to create
layers. the volumes.
• ·······-··············-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
--
1/ '
............_
With a pencil the figure is The first co lori ng is applied

drawn w ith all its details , to the skin, the lightest tone
from folds and creases lo the of the composition. Then,
shapes from the pattern or working with a diluted
the texture of the bag and waterco lor, the base color
jersey. The su rface of the of the jersey is pa inted
paper that will be used is ca refully and evenly in a
moistened and left until it light shade of gray.
is almos! dry.
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Violet and Pink Outfit with Bag
Then, the shirt, skirt, leggings, For the details of the garment
bag, and hair, wh ich receive a finer brush and a da rke r
an initial faint, diluted layer of tone than that of the ga rment
color. The com bi nation of the itself are used, w ith a si ightly
colors begins to give volume more diluted watercolor.
to the figu re and to create The folds, creases , an d edges
a composition. of the clothes are ma rked ,
and th e pattern of the shirt
is drawn .
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
To enhance the volume of In this step , th e shading on

the garments, more layers the clothes is added . Todo
are applied in the areas of this, first the areas that
shad ing. Various tones are receive less light in the
used for th is, enriching the composition need to be
texture of the illustrati on. identified. These are painted
After this step, the illustration w ith a thick brush in da rker
is left to dry com pl etely tones than th e ga rment, in
before continu ing. order to create depth .
------------- ------------------------------------------------------------------------ ------------------------- ------------------------------------------------------------------------------------------------- ----- -·

Violet and Pink Outfit with Bag
Once it has d ried , th e last La st, details like the shading

details are drawn w ith a fai rly on the boots, th e texture of
fine brush, wh ich is used like the leggins, the zipper chain ,
a penci l. To represen! the and last sh adows of the bag
highl ights on the bag, a w hite are done; the pattern on the
gouache can be used i nstead shirt is finished; and the eyes
of th e wate rcolor. The details and mouth of the figure are
on th e face are also drawn in. pai nted lo give the face an
expression .
.
,,,,,,,,,,,,,,, ' " " ............................................................................. """'"""" '""""'"""""""' '"" ............... ' " " .............................................. .
- ,r
1\
Pastels
Pastels are co mposed of chal k mixed with pigment and a binding agent, whose main support for paste ls is th ick, texture d paper, and its accessories are the
level of hardness depe nd s on the proportions of t hese ele ments. Bei ng an stump-a too l mad e from paper c losely roll ed up, whic h has the thickness of
opaq ue materia l, it ca n be applied over the top of all types of surfaces painted a penci l, and is use d for smud ging-and a knife-used lo sharpen th e paste ls
wíth waterco lors, gouache, acryl ic, or India ink. lt is a tec hnique that ca n to draw deta il s. Erasers are also used . Not just to erase but also to create
accurately repre sen! the creases in fab ric, volumes, and cha nges in depth. The highligh ts and lights- and fixative in ae roso l fo rm or hair spray is used to protect
most com mon forma t s are crayons (ba rs of brightly colored pastels that are easy and set the work once fi nished.
to manipulate) and pe ncils (harde r than crayons an d ideal for deta iled work) . The
--·---------·····-··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Aleksandra Budnik
The ch ildhood of this Belarusia n was surro unded by batiks, sculptures and col lections, one of which was shown in the Lafayette Galleries in Berlin,
embroidery, so it was na tu ral that he r higher educatio n lead he r to art sc hool participated in several competitions, and during the last two years designed
and subsequently a post-grad degree at the prestigious Nati ona l University of Art and created wedding dresses . In 2006, she graduated as one of th e top
of Bela rus. Alter an intense prepa rat ion , she attained a place the re to study students, wh ich earned her a grant to study fo r ayear at th e lstituto Europeo
fash ion design. During the five years of the course she developed women's di Design (IED) in Barce lona, the city where she lives today.
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Pastels Aleksandra Budnik
The figu re is drawn on The darker shadi ng from the

colo red paper, so that the ribs and the folds of the dress
wh ite of the dress and its is done using a color that is
lightness stand out better. darker th an the backgrou nd,
The light and shade on the such as brown , w ithout
body are drawn w ith diffe rent smudging. The color of the
,
tones, and the dress is then paper, which can be seen
pai nted white, avoiding the through the d ress , w i 11 be the
.. .a .J
~ ~. ~ fold and cut lines. medium tone of the shading.
. ~-~
- -----··--------··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Dress with Embossed and Ribbed Stitching
A sky-bl ue pa stel is used

to accentuate the areas
of shadow, w hich is then
smudged using a fi nger.
A fine penc il is used fo r the
smaller details, in this case
a propell ing pencil. The
embossed stitch ing arou nd
the bust, the pleats of the
material. and the folds at
the neck are then added.
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
.·
{,
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,.,.,~'
-
. '··
. ......
~- ·
·~""
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....
-...,... . . ¡..
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• 1'-::,. .,.!: •
::;:;:,'A."
.....
....~
~ .
'".......
.,.,_
........
' ( q¡¡ Al· 1 .,1, ·; .

...
Mohair is a material w ith a For th e fu r of the moha ir,

furry texture, wh ich is very short strokes are used in
soft and shiny. Textured different tones of green
pa per is used to reproduce th roughout the surface of
th ese cha racteristics . The the jersey, changing t heir
figu re is sketched w ith a di rection for th e sleeves a nd
pencil and then horizonta 1 the neck. These lines provide
pastel lines are drawn greater volume an d bring
directly onto th e paper, wh ich the garment to life.
are smu dged wit h a fi nger.
·------------ --------------------------------------------------------- --------------- ------------------------- ------------------------------------------------------------------------------------------------- ----- -·

Mohair Jersey
/\
The jersey is colored with
diffe rent tones withi n the
ra nge of li lacs, bl ues, and
sky-bl ues, to create the lights
and shadi ng and give th e
fabric consistency. Final
details such as the ribbing
on the sleeves and neck
are done with fine lines
in da rk green.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
,n
In this case, the pastel is For the ta rtan pattern, the

used in different ways. First , pleats of the material an d how
the skirt and its fo ld s are these affect the design must
drawn- and to give the be ta ken into consideration;
base color of the skirt a dry the lines are neither
pastel- is then grated w ith conti nuous nor straight
a craft kn ife onto the surface between one fold and anoth er.
of the paper. This is then Then color is applied with
spread with a wet brush, the base color of the ski rt,
marking out the folds in avoiding the lines of the
the skirt. tartan pattern.
------------- --------------------------------------------------------- --------------- ------------------------- ------------------------------------------------------------------------------------------------- ----- -·

Tartan Ski rt
Different shades of the co lors

from the ta rtan are used to
create the lights and shad ing
with pastel pencils or fi ne
pointed pastel crayons.
On the pleats of the skirt,
a deep blue co lor is used
for the shading created
by these fold s.
· ---------------------------------------------------------------------------------------------------------------------------------------··---···-··--·-·---·····---····--·-·---···-·----···----·-·-··--·-·---····--···-··--·-·
The coat is draw n, The outline of the coat

incorporating details like and the sleeves is smudged
pockets and butto ns. To with the finger to create the
achieve the effect of the frock main volu me. With a dark
coat mate rial, the texture brown, fine-pointed pastel,
of a thick material is used , detai ls like the buttons an d
such as linen. This is placed buttonholes, fo lds, creases,
beneath the pa per to which or stitch ing are drawn and
co lor is applied heavily. then lightly smudged .
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Frock Coat with Mao Coll ar
The same details are

enhanced with a dark red,
which creates subtler and
more precise shading. The
face is sketched and th e
silhouette is defined w ith
brown. Any va riation in the
form can be easily corrected
with an eraser.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
~-
The outl ine of the head with The pattern, in th is case

t he neckerch ief is d rawn. pais ley, is d rawn w ith colored
Details are not drawn, only pastels. lt is im portan! lo
t he folds that the neckerchief bear in mind that t he pattern
w ill have. The entire surface follows the folds and volumes
is covered with the base color of the material, which must
of the neckerchief, w hich be shown when drawing.
is then carefully smudged
with fingers.
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Paisley Neckerchief
The last step is to create the

volumes. Todo this, the
lights are represented using
a w hite pastel or one lighter
tha n the base colo r, and with
a pastel that is darker than
the base color. The edges
and knots of the neckerchief
are drawn, and the fo lds th at
form t he ga rment are added.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
The figure with the sa rong is To reproduce all the different

drawn. With a pastel pencil shades created by the light
the main folds are marked and the tra nsparencies,
and lightly smudged, taki ng a wide range of colors
into account the direction of is needed. First of all the
the light. In this case. it is creases in the material are
from above and frontal, so drawn w ith a dark color, in
the upper section and the thi s case, a dark blue. Then
parts that project outwards the diffe rent shades can
are the lighter areas. be added.
- -----··--------··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Semi-Tra nsparent Sarong
For the different tones of the

sarong, light colors are used
wit hin the same co lor range,
like blue, sky-blue, and violet.
To reproduce t he transparency
of the material, pin k, yellow,
and beige is used, whic h
insi nuate the body beneath
the sarong.
· -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------··--------··---------·-------
Since most ea rmuffs come in

light colors, da rk paper is
used to heighten the contrast.
They are drawn w ith white,
which is then smudged .
The features of the face are
drawn with strong, thick lines
an d the hair is given color,
al lowing glim pses of the
background .
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Earmuffs
With short, quick strokes

the vo lume and the texture
of the earmuffs are drawn.
Sky-b lue is used for the
shad ing and pink and yel low
for the reflecti ons. The colo r
of the face is comp leted
leavi ng a blue background for
those areas in shadow.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
The figure is drawn and To create t he volume, a darker

dressed in the nightdress . co lor than t he base is used, in
Because the garment is sem i- this case beige. The areas of
transparent. first the body of shad ing are marked, like the
the figure is colo red wit h a folds, ruffles, straps, and
skin tone. Once completed, edges of the nightdress, and
the en ti re nightd ress is then smu dged. This helps to
colored pink, which w ill be differenti ate the nightdress
the base color, and smudged . from the co lor of the body.
......................................................................................................................................................................................................................
Short Nightdress with Ruffles on the Bust
White is used to highlight the

ruffles on the upper section
of the bust and some of the
fold, anda magenta penci l is
used to defi ne deta ils like th e
straps or the bows. A stump
is used to smudge the
shad ing beneath the chest
on the latera l outli ne of the
nightd ress.
·----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Fi rst of all, the silhouette and For the arms, orange and
the elements it is composed of pi nk are used, thereby
are drawn subtly in pencil, but offering two tones wilh which
without detail. The lines that to create the highlights and
mark and separate the outlines shad ing. The lines that define
are drawn with the color that them are well ma rked , and
corresponds to each garment then lightly smudged with
or part of the body. a finger, lo start lo create
some volume.
------------- ------------------------------------------------------------------------ ------------------------- ------------------------------------------------------------------------------------------------- ----- -·

Dancing Outfit
The waistcoat will be blue. The skirt is colored light green.

Different tones with in the Since it is a Boulloné skirt, it
range are used for this to forms a lot of creases, wh ich
create the highlights and are ma rked in dark green .
shad ing, such as light green The colors of the pattern
and black. The lines that are used on the shirt, sti ll
mark the outline and the fi rst without deta ils, with th ick,
creases are drawn and then defined strokes, which are
lightly smudged. not smudged .
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
A little co lor is added lo the In this step, certain details

bag (orange and red) and its li ke the knot on the sh irt
texture is created. The figure strap are defined, the line
wil l have black hair, and of the neck is added, the face
to create vo lume and a is sketched, the folds of the
luminous effect, violet is jersey are gane over, the belt
used. Strokes are applied is drawn, and certain deta ils
that follow the movement of th e pattern are added
of the ha ir. to make it more consisten!.
--·---------·····-··-···---------------------------------------------------------------------···--·------·-···--···---------------------------------------------------------------------·-··--···----------------···-----·
Dancing Outfit
The boots and leggings are The last detai ls are

colored in detail. On the completed, li ke giving the
boot, wh ite and sky-blue bag texture, incorporating
are appl ied to produce the the lights of the hair, and
highl ight, and red is used coloring the face to give the
for the stitching. To properly figure expression. For the
define the heel, its silhouette finer detail s, it is
is outlined in gray. The part reco mmended one to use
of the leg that is not cove red a penci l, wh ich allows
by the leggings is given color. for more thorough work.
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Marker
A ma rker is is a writi ng instrument tha t is composed of two parts: a deposit for be used to colo r large surfaces qu ickly and evenly; and the brush pen is often
the ink and a t ip made from a porous material, normally in felt or nylon. The tip used to represen! both simp le and highly synthesized figures and transpa renc ies
can be dif ferent sizes and shapes. These in turn create different lines, so that and volatile fabrics . The combination of severa l sizes notab ly enriches
each th ickness has different spec ific use. Fine-tip marke rs (up to 0.157 in) illustrations. lt is possible to find a wide variety of colors on t he market and it is
are used to ill ustrate with great detail; medium t ips (0 .047 in) are ideal for a technique that can be used not just on paper but also on various su rfaces such
illustrations made from loose and very free lines; the macro pen (0.276 in) can as slate, wood, plastic, etc.
- -----··--------··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Rosa Bocharán
Rosa Bocha rán was born in Ciu dad Real, Spa in in 1968. From an early age she Associac ió Profess iona l d'IH ustradors de Cat alunya (APIC), and her illustrations
has been inte rested in drawing, pa inti ng, and fashion , which is w hat lead her to have been pub lis hed in magazines like Cornabou. She has developed a ve ry
study artistic drawing, design and later fashion coo rdination, art and techn ique personal style in he r pa intings, combini ng different tec hniques such as oil
Dress . Thro ughout her many yea rs of expe rience she has simu ltaneously paint s, pe ncils, markers, pastels, an d waterco lors.
deve loped her th ree interest s. She has created fash ion collections, is part of the
• ·······-··············-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
Marker Rosa Bocharán
With a pencil the si 1houette The figure to be illustrated is

of the figu re is drawn in drawn in deta il. Each feather
the desired position, in suc h is drawn se pa rate ly, wh ich
a way as to synthesize the w ill later make them easier to
1 volume of th e top. This is

done with a light pencil
color. lt is i mportant to note
the difference in the direction
(HB or less) to be able of the feathers on th e body to
to then ea si ly erase the those on th e neck.
construction lines that wil l
not be used .
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Feather Top
A medium-ti p ma rker is More layers are applied over

used to give the skin color, the feathers to create different
applying a base layer. Various tones of black and give
layers are applied of the texture to the top, respecti ng
same co lor to give volume, the spaces in w hite. The
unti l th e desired tone is rings are colo red with a gold
achieved . With a brush pen marker and to finish the
the feathers a re fi lled in, entire figure is gone over with
leavi ng sma ll spaces in wh ite a fine black ma rker (02, for
that ill uminate the top. instancel.
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·---------·---------·--------··-------
'1 /
1\ \ /
1 ( . 1
;J¡~pj
1/1¡ j IÍ
The jersey on the fígu re ís Two tones from the same

drawn wíth a pencíl. The range are used to color the
most pronounced creases jersey. A first layer is applied
are drawn , and the texture w ith each color to give a
of th e fa bric is sketched with base tone, leaving small
lí nes . Because ít has thíck spaces of white, wh ich
stitching, the ribbing is ill umi nate the composit ion .
drawn wide, giving the Over this layer th e ou tli ne
materia 1the appearance of of the belt is drawn.
beí ng heavy.
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Ribbed Jersey with Open Neck
Several layers of each co lor The enti re figure is outlined

are appl ied to create w ith a black fi ne-tip ma rker
vol umes. For the more (02 ) The jersey outline is
intense shading, a da rker marked with a wobbly line
violet is used. The fu rry effect to simulate the fur ry textu re
is achieved by sti ppli ng with of the jersey. The buckle
a marker, and the li nes of and the button holes
the ribbing are marked w ith of the belt are drawn
a black fine-tip marker. and the ereases are added.
• ······················-······--·-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
\
1
)
\
The sil houette of the body The skirt is drawn over the
is drawn, stand ing up and basic figure, marking the
leaning ove r one of the hips. movements and undu lations
The basic forms and vo lumes of the fabric. The pl eats in
of the skirt are drawn over this fine material produ ce
the figu re in penci l. No many fo ld s and creases,
detail is drawn, just the wh ich should be marked in
different layers and cuts detail . The lines previously
of the material. drawn are erased .
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Skirt with Pleated Ruffles
\
1
With a mediu m-ti p marker. Several layers of the same

a fi rst layer of each colo r color are appl ied with the
is applied . In this case, ma rke r to achieve da rke r
bl ack and crimson have been tones and thus create the
chosen. Color is applied correspondi ng sh ading.
evenly but while spaces Fina lly th e edges and folds
are left to mark the lights and are outli ned with a black
divisions. fine-tip marke r (02) .
• ·······-··············-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
1) '/
The sil houette of the figure Sti ll w ith the pencil, the
is drawn with a light pencil figu re i s better defi ned.
(H B or less) and the shape The pockets and their zips
of th e trousers is drawn are drawn, th e creases are
on top of this. Ce rta in marked , and detail is drawn
."
constructive detail s are drawn, on the lower part of the
like the cut of the fabric and trousers. Next, a first layer
the waistband of the belt is appl ied w ith a marker,
and the feet, as well as the leaving spaces of w hite for
cord fo r adjusti ng the trousers. the light.
--··---------·----··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Sports Trousers
To create the shading of

the creases, several layers
of color are applied to the
base color of the trousers.
The upper and lower section
is given more color, which is
where the creases are most
concentrated, lea vi ng the
central area cleare r. The
deta ils are marked with
a fine-tip marker.
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The coat is drawn with a soft A wide-ti p marker is used

penci l. To create the guides to apply an even layer of
for applyi ng co lor, the buttons, red , to prov ide the base color.
the deta il s of the belt, the Some areas are left wh ite
shoulders, and the sleeve to give light to the garment.
and the ma rks of the creases With a blac k fine-ti p marker
formed by the position of the lines of the tartan are
the material, are al l drawn drawn, fol lowing the form
in detail. and movement of the fa bric.
- -----··--------··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Tartan Overcoat
Severa l layers are appl ied to

achieve the areas of shad ing ,
which give the garment
volu me. A darker tone can
also be used for this. The
bl ack lines of the pattern are
corn pl eted an d given detail ,
and then the backst itches are
marked with a white marker.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
The figu re is drawn in pencil The geometric pattern is

in the desi red posture. Because drawn, taking into account
the leggings are going to be t hat the form of the body
il l ust rated, the most and its movements must be
recommended posture is one fo llowed, hence stra ight lines
with one leg in front of the are avoided . An in itial base
other to be able to elea rly see layer is applied with each
the design. The sil houette of color, leavi ng wh ite spaces
the leggings is ma rked , whic h for the light and divisions.
being lycra has no creases or
folds.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Lycra Leggins with a Sixties Pattern
To ach ieve darker tones.

several layers of each color
are applied unti l the desired
tones are obtained . Being
lycra, the colo r is quite even ,
so on ly vo lume on the legs is
ma rked . For better defin ition,
the drawing is outl ined with
a fine-ti p marker.
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
A flat drawing of the sneaker Three colors are used for t he

is done without deta ils, only sneaker: red, dark gray, and
marking the ma in lines that a very 1ight gray lo then
separate one color from make the shading from the
another. A soft penci 1 is used wh ite. With a wide-tip
in case anything needs to be marker a layer of each color
erased , a nd so that there are is appl ied , and, bei ng an
no marks and the resu lt is opaq ue material, w hite
clean . spaces are not left for the
highlights .
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Sneakers
More layers of color are

applied until the desired
tones are achieved . For
the wh ite areas, few layers
are applied , thus avoiding
ove rly intense shadi ng and
generating little volume. The
tra iner and the details are
outlined with a fine-tip
marker (02).
· ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The bag is drawn in penci l Color is applied using the

without too much detail . base co lors of the bag,
Just the vo lume it wi ll leaving spaces of w hite,
oc eu py, the cuts between wh ich give light to the
the different materia ls, and drawing. Various layers are
the position of the clasp appl ied to create the initia l
are drawn . A soft penc il volumes. The clasp is
is used so that afterwa rd painted with a gold fine-tip
the lines that wi ll not be marker and the fol ds and
used are not shown. shading are marked with
a brush pen.
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Small Bag with Giant Clasp
With a black fine-tip marker

(02), the details of the bag
are marked : the lines of the
creases and the stitchi ng are
drawn, and the edges are
outlined. With a wh ite fine-
tip marker small lines are
made on the clasp to give
it light.
· -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
\j
1 ' \
1
1 1 \
1 1 1 1
L¡- J \
!
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With a soft penci l the figu re The final details are drawn,
is drawn in the desired pose. wh ich wil l serve as a guide
Then, with a darker pencil, when coloring with the
the main garments are marker: th e patte rn on the
drawn- ribbed woolen shirt; the trames of the
waistcoat, sh irt, Boulloné glasses; th e zippe r, the chai n
skirt, and boots- simply, and and the el ips of the bag; the
only marking th e vo lumes. leggings; the zi pper on the
boots; and the folds of the
skirt and the waistcoat.
------------·····-··-···---------------------------------------------------------------···---···--·------·-···--···---···-----------···-------------------------------------------------·-··--···------·--·-···--···----··
Purple Flower Outfit
A layer is applied with t he Va rious layers of th e base

base colors of each garment, color are applied to each
leavi ng sma ll spaces of w hite garment to achieve darker
for the lighter areas. A brush shades. The shading is
pen is used for the ha ir, created and lighter area s are
wh ich achieves a better left, which in turn form the
texture. The leggings are vol u mes of the garments. lt
given a skin color si nce they is importa nt not to colo r ove r
wil l be semi-transparent. the spaces left w hite.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
To achieve the transparency The pastel is used again

of the leggings, the ma rker for the details of the pattern
is used in combination with on the leggings. A slightly
a pastel , a techn ique that darker tone is used !han
al lows this effect to be better that obta ined for the base,
ill ustrated. A black pastel in thi s case vio le!. The
is used to draw a light layer. movement of the legs
This should then be smudged should be take n into
with a cotton swab. account w hen drawing
the motifs.
- -----··--------··-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Purple Flower Outfit
The deta ils of each garment With the black ma rker, the
are marked. To create the main creases formed in the
texture of th e waistcoat a skirt are marked, the padded
fi ne marker is used (02). texture of the bag is created
The lines that represen! the (a nd its details are drawn
ribbing are drawn, taki ng in) the zip on the boots is
i nto account that these d rawn, the faci a 1 featu res
a re not straight or even, are added, and lastly the
but follow the movement enti re figure is outli ned.
of the garment.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
Gouache
Go uache or tempera has been u sed since medieval ti mes, at which t ime it is the perfect technique for illustrati ng refl ections and intense high lights for
was known as temple paint. lt is often confused with watercolors, since both elements like glasses, j ewelry, gems, or metals. lt dries quite quick ly and, once
techniques are app lied in a si milar manne r. The difference, however, is that dried, errors can be corrected by supe rimposing laye rs, bea ring in mind that if
gouac he is heavier and more opaque. lt is app lied using layers and vei ls (di luted) . the laye r is too th ick it may crack. The ma teria ls used for th is technique are: a
And, in contras! with watercolo rs, the darke r to nes can be applied first or over heavy paper, recip ients with water, a palette for mixing the colors, and brushes
these t he lighter ones or even white . This means that despite its matte fin ish, it of different t hickness, depen di ng on t he level of detail that needs to be achieved.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Loreto Binvignat
Originally from La Sere na, Chile, she lived in several cit ies during her chil dhood- yea rs, she moved to the Dominican Re pu blic to study fa shion design in the Altos
both insi de and outsid e of th e co untry- giving her a more open vision of the de Chavón School, affiliated to t he Pa rsons School of Design in New York . Alter
world. On retu rn in g to Chile, she fin ished high sc hool and studied art at the the first te rm , she deci ded to continue her studies in Ba rcelona , grad uating at
Pontificia Unive rsidad Cató lica , which marked the beginning of her artistic the lstituto Eu ropeo di Design (I ED). Today she works as a fashion designe r for
career, and hopes of con tinuing her t raining in New York or Europe . Al ter two an internationa l com pa ny and as a freela nce illustrator.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
Gouache Loreto Binvignat
1
1
1
-----
----\1
A light pencil (HB or less) The blue base co lor of the

is used to d raw the top, so top is pa inted w ith a thick
that this does not domínate brush. The advantage of
the drawing. Al l the details the gouache is that if th e
are drawn, and for the gems res u lt is not even, it can be
it is recommended one draw corrected by add ing one or
the faces of each stone, in more layers afterward . The
order l o follow the fo rms base co lor of the skin is also
and highl ights w hen coloring. applied in th is step, which
will be finished off later.
------------- ------------------------------------------------------------------------ ------------------------- ------------------------------------------------------------------------------------------------- ----- -·

Top with Gems
Color is applied to the base

where the strip of gems wil l
be, which are then evenly
painted . With a very fine
brush, the highl ights are
added to different parts of
each stone, depending on
the directi on of the light. Las!,
the main folds and shading
are ma rked with gray.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
The shirt is drawn in pencil . With a reasonably thick

In the ribbed area it is not brush, the fi rst layers of
necessary to draw all the each color are applied, w ith
creases but rathe r to synthesize the gouache very diluted in
and mark only sorn e of them . water, thus obtaining a lighter
lt is recommended that one tone for each color. This
make sorne blacker than others is done flatly and evenly
to create depth. This w il l serve w ithout consi derati on for
as a guide w hen it comes to the light or shading.
applying color.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Ribbed Shirt
With a less dil ute gouache

the stitchi ng and creases
formed by the ri bs and the
sleeves are marked. Because
the material is cotton and
does not create reflections,
it w il l not be necessary
to add w hite for the points
of light. For a better fi nish,
the edge is outli ned with
a penci l or marke r.
• ·······-··-······-····-······-··-···-·····--···-··-···-··-···--·····-···-··-···-··-····-·-··············-··············-······-··-···-······-···-··-···-··-····-·····-···-··-···-··-······-····-··-······-···-···
With a light marker the The 1ighter of the th ree colors

skirt is drawn with al l its in the pattern is used as the
constructive detail s. Then th e base co lor for the skirt. lt is
organ ic forms of th e mi lita ry applied with a thick brush in
pattern are drawn, taking into large strokes, keeping it even
account that the pa rt where so that the tone is the same
the buttons are will not be for the enti re surface .
patterned and that the
material cha nges direction
at the pockets.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Army Skirt
Based on the origi nal army To fin ish, black is applied,

colors, the other two shades the tone that is darkest and
of green are chosen for has least presence. The black
the pattern. The application areas of the pattern are
of these colo rs follows the colored and a marker is used
pattern that has been d rawn. for the deta ils like the edges
To be able to follow it exactly, of the buttons and pockets
a brush of medium th ickness or the creases in the skirt.
is used.
• ·······-··-······-····-······-··-···-··-··--···-·--···-··-···-··-···--·····-···-··-······-····-·········-··-···········-······-··-···-··-···-·····--····-··-····-··-···-·······-····-··-·······-····-·······-······-···-····
The skirt is drawn with a A medium brush , between

light penc il (HB or lessl . The 6 and 10, is used to apply
main creases and the stripes the base co lor of the skin
from the pattern are added. and the red from the stripes.
When drawing these it is A good way to obta in a more
importan! to remember that detailed resu lt for the stripes
where there are fo lds the is to position the paper
stripes become cu rved and diagona lly, so that the wrist
do not follow the exterior li ne. can fo llow its natural
movement.
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Striped Ski rt
The stripes that may not

have been correctly painted
ca n be defined with a thick
layer. To create depth in the
interior of the fo lds, the red
stripes are pa i nted in a less
diluted color, and a grayish
ve il is applied to the white
stripes.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
-()
-o
\
\ /
The dress is drawn simply, With a thick brush, between
only marking the buttons, 16 an d 20, the first layer
the cut, and the main of ye llow is applied, wh ich
creases. lt is not necessary is the dominan! color of the
to draw the pattern or the fa bric. lt must be app lied as
patches, as they will be evenly as possi ble to be abl e
done in a more random way, to create the pattern cleanly
wh ich will also allow the in the next steps.
colors and the forms to
stand out more.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Patterned Dress
To create the smudged effect. To finish , the organic motifs

a smal l sponge dipped in a are painted random ly on the
th ick layer of red is used. lt previously colored surface.
is th en stamped onto the Then the fi na l details are
dress, first heav ily and then added, 1ike pa inti ng the
more gently to create th e buttons and going over
sm udged effect between the outline of the figure
the patches. with a penci l to improve
the defi nition.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
The trousers are drawn w ith The medium tones are

a soft penci 1, so that the applied and the shad ing
wo rk is left clea n in case and high lights are outlined .
anyth ing needs to be erased. For the trousers, first a thi n,
The creases in the trousers grayish layer is applied ,
are drawn fo rmed by the wh ich wi ll be the middle
incli ned posture of the figure . tone of the gradation from
The creases in the shoes, the the wh ite to the black. The
zipper, and the pockets are area w ith highlights is left
also added . com pl etely w hite.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Leather Trousers
Layers of dark colors are

added, leavi ng are as of
gradati on so that the shi ne
seems more real . lf some
of the color passes onto the
areas where there are tota l
highl ights, where th e paper
is meant to be left white,
these ca n be easi ly corrected
with a thick wh ite gouache.
· --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
- ~
\
The figu re is drawn wit h a To ach ieve the lightest tones
light pencil. To represent the of each color, a fai rly di 1uted
volume of the fur from th e gouache is used to apply an
hood, sma ll lines are drawn initial layer in orange for the
around this section . lt is body of the parka and beige
important when drawing for the furry hood. On th is
t he si l houette of the pa rka base, da rker tones can be
to reflect its volume, w hich applied to create the shad ing.
can be achieved with
curved li nes .
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Canadian Parka
J\
A second layer is applied The last step is to add t he

w ith the less diluted shad ing. To obtain darker
gouache, and th erefore l his tones, ora nge is mixed with
darker laye r begins l o give red and beige w ilh brown.
vol u me to the fu r on l he These colors are used for
hood and lo the body. To add t he respective darker areas
vol u me and depth in the fu r, of the pa rka, such as t he
small lines are applied in sl ilchi ng and l he delails
different si zes and tones. of the fur.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
~
/
1 /
f
With a light pencil (HB An in itial skin tone is appl ied

or less) the face and glasses throughout the face w ith the
are drawn. Details like the gouache fai rly watered down .
cheekbones, the lips, and Beca use the len ses of the
the motif on the glasses are glasses are tra nspa rent, the
drawn. The areas w ith area they occupy shou ld also
highl ights can be marked receive th e same skin co lor,
w ith a very light 3H pencil except for the areas whe re
to provide a gu ide when there are highlights.
it comes to applying color.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Glasses
Wit h a very diluted bl ack Defin ition is given to the

gouache, wh ich wil l actua lly drawing by applying more
be seen as gray, an initi al layers of each color and
layer is pa inted to define perfecting the details. The
the shadi ng and highl ights. highl ights and refl ections in
The black pa rt of the frames the len ses a re outl i ned with
is painted with a thicker, wh ite, and sma ll white lines
and th erefore da rker, gouache are drawn on t he frames.
to differentiate them from For a better fin ish, the tace
the lenses, and th e fu chsia is outlined in pencil.
and blue are both applied .
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
~~ 11
/
l
\
\
\
\ _1/ --~
t_-
~~ [/ !
The figu re is drawn in detail The fi rst area to be pai nted

lightly, so that afterwa rd is the ski n. With a t hick
the penci 1 1i nes do not brush a well-watered beige
cause any prob lems. lt is layer is appl ied, w hich
recommended that one begin is only used to obta in the
drawing w ith an F or HB base color. The lenses in
penci l so that if anything the glasses are also painted
needs to be erased it does in this color to create the
not leave marks on the effect of transparency.
paper, and t he fi nal drawi ng
appea rs clea ner.
......................................................................................................................................................................................................................
Ba lloo n Ski rt Outfit
1í
Fuchsia is then incorporated, The patterned shirt is then

wh ich wi ll be used as the roughly co lored, w ithout
base of the wa istcoat and including too many details.
the ba lloon skirt. With a la rge Fi rst, th e fl owers are pa inted ,
brush, number 18 or 20, starting w ith the green sta lks
a moderate layer is applied , and then the petals are
allowing the drawing painted yellow. Once the
u nderneath to be seen and pattern has been painted,
the areas of shad ing and the shi rt is pai nted bl ack.
light to be easi ly followed
afterwa rd .
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
With the base of all the A very fine brush-number

colo rs done, the details of the O to l -is used to give co lor
ga rments are sta rted . A layer to th e gl asses, whích wí ll
of shad ing is applied to the make ít easíer to pa ínt them
outli ne of the waistcoat and accu rately. First, a gray veí l
w ith a very fine brush and is appl ied to the lenses,
in a darker tone the li nes of leaving the highlíghts w híte.
the ribbi ng are drawn along Then the bl ack frames are
w ith small spikes to simul ate paí nted very careful ly.
the fabric.
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
Balloon Ski rt Outfit
The other elements are Now, defin ition is given to al l

painted black. The hair is the elements---details on the
done with small bru sh pattern , the volurne of the
strokes, following its waistcoat and skirt, and the
natural direction. With a facial expression- and darker
O penci l the stitching on tones and the brightest
the bag is outlined and highlights are appl ied. Final ly,
each cheek is given color. th e fi gure is outl ined w ith a
The high light is left wh ite, pencil or ma rker.
as in the case with th e boots.
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
Mixed Techniques and Digital lllustration
Mixed tec hniques refe r to both illustrations that com bine techniques already co lored afterward using a computer, differe nt images can be scanned and th en
seen and collages . The advantage of these is that by using pieces of material, mixed , or one can draw directly onto the co mpute r with a "digi tal pencil" on a
pa per, th read, sequ ins, etc. the combination of textures and mate ria ls found monitor. The main progra ms that are used are Photoshop and lllustrator. The
in an outfit can be better presented and th e final result more closely represents advantage t hat this tec hnique offers is that tests of colo r an d form can be
the garments themselves. All the mixed tec hnique il lustra tions have been done carried out on a single ill ustration, until reac hing a satisfactory result.
by ha nd, making each res ult unique. Digital ill ustration is illustration work that
uses a computer in pa rt or all of the process. Drawings ca n be scan ned and
·--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------·
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
Daria Jabenko 1 www.illustrationweb.com 11 Mixed Techniques
Unified by a roma nti c touch, each illustration presents its own personality. They combine gouache, watercolors, and ink to ach ieve high
levels of detail. The harmonious color pa lette is dom inated by d ifieren! shades of red.
·-----------------------------·----··----··-----------------------------·----··----··--------------------------------------------------------------------------------------------------------------------------------------·
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
-------------------·
.F
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.0
• .. •
: •• ••
•
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• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
Zu lema Galeano 1 www.zulema.org 11 Digital
The base for these illuslralions is old paper, wh icl1 is drawn on and colored w ilh pencils, markers, ballpoints, or walercol ors. Th en color is
applied using Pholoshop, ora filler is used (such as lhe mosaic in lh e case of lhe skirtl which helps l o crea te unique pieces.
·-----------------------·----··----··----··----·-----------------------··----··----··----·---------------------------------------------------------------------------------------------------------------------------------·
. .
. .
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
• ······················-······-··-··········-···-·········-·····························-················-··············-·············-··········-··-······-····································-··-······-·······
Olivia Rubín 1 www. oliviarubinlondon.com 11 Digital
To achieve a representation that is as clase as possible to the ga rments of this designer, the figu res-draw n in pencil and colored with
wa tercolors- are scanned and, in Photoshop, the pattern s and textures are applied .
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• ·········
* **
**
Carolina Alonso Lava lle 1 caroalonva@ya hoo.com 1/Co//age

To en liven th ese compositions, done en ti rely by hand , difieren! elements have been comb ined such as cuttings from magazines, cloth , an d
dressmaking materials like wool or sec uins. The designs play wi th color contrasts, textures, and patterns.
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Marisa Fjarem 1 www.fjarem.com/marisa 1/ Co//age
The aim of these illustrations is to show the clothes witl1 out using th e idealized figure of a model. They have been created usi ng pa per
cuttings- sim ilar to the cloth from the garments both in structure and in color-combined with drawi ngs and photos.
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Paula Sanz Caballero 1 www.paulasanzcaballero.com 1/ Co//age
Each piece is sewn en ti rely by hand , wh ich is a slow and meticulous task . When doing th is, the intrinsic qual ities of th e materials are not
taken inlo account but are taken to t heir limits to ach ieve the creative aims.
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Maria Cardelli 1 www.mariacardelli.com 11 Digital
These digitally created collages are given life through the variety of materi als, such as enamel pai nts, oils, papers, or anyth ing th at could
afford an interesti ng texture. They are then combined on th e computer l o crea te visually striking com positions.
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Sarah Beetson/lllustration Ud 1 www.ill ustrationweb.com/Sara hBeetson 1/ Co//age
Diverse materials, such as spray paint, ti ssue paper, and circula r stickers, have been combined to crea te these colorful ill ust rations, wh ich
have been applied over drawings made with pens , wax pencils, and markers.
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Chris Ede/ll lustration Ud 1 www.illustrationweb.com 11 Digital
First a sketcl1 of the composition is done and then t11e elements are draw n separately with ink, acryl ics, and watercolors. These are scanned
and, in Photoshop, color, texture and perhaps the odd effect are applied lo create the fina l illustration .
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LAU* 1 www.laura-mc.com 11 Digital
The techn ique used in these ill ustrations combines black ink, rnarkers, and Photoshop. Flat colors were chosen along with geornetri c rnoti fs
lo ach ieve quick results, where the line of the figures and objects is accentuated.
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PPaint 1 www.ppaint.net 11 Digital
The figure is drawn with a brush. pencil, or pen , and th e other elements are pa inted and treated to create textu res. T11 is is all scan ned,
mounted, and colored. using few effects so that th e fina l illustration, although digital, does not appear art ificial.
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1
1
1
1
,, 1
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Sophie Le blanc 1 sofk.free.fr 11 Digital
The initi al drawing is done by l1and and afterward a computer is used lo apply colors, graphic streams, and textures. These come fro m
magazine cu ttings and sn ippets of cloth, wh ich are scanned, thus bringing a high level of realism to the illustra tions
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1, 2 and 3 : lllustrations extracted from La Mode by Gentiane Lenhard , illustraled by Nikita, Sophie Leb lanc © 2007 Éditions Milan
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4
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6
3
4-J......
5
4, 5 and 6: lllustra tions extracted from La Mode by Gentiane Lenhard , illustraled by Nikita, Sophie Leb lanc © 2007 Éd itions Milan
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Osea r Giménez 1 www.oscargimenez.com 11 Digital
The in itial line is always drawn in pencil, then on the com puter the line is polished and the rest of the il lustration is done on Photoshop.
Color ranges th al do nol form excessive contrasts are often used and it is common lo integrale real textures with pholograph ic elemenls.
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Bj0rn Brochmann/Commando Group 1 www.commandogroup.com 11 Digital
Photoshop is th e main tool here. Flatter illustrations can be acl1ieved, such as !hose that combine drawings don e with ink and hand-written
letters, or more realist com positions, such as those that mix par ts of photos wi th lines from the same photos.
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Carole Agaesse 1 www.caroleagaesse.com 11 Digital
The Bézier curve is a digitally drawn shape based on the insertion of control points th at allow th e cu rva ture of the line to be adjusted . Th ese
illustrations use them to obtain perfect outlines around the figures and the patterns.
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Mariya Paskovsky 1 www.mpaskovsky.com 11 Digital
The pictu res are hand drawn and then given color using Photoshop, wh ich ca n combin e grad ients, flat inks, and real textures in the
com positions. They are modern illustrations but have decorative elernents that are remin iscent of art nouvea u and popular art.
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Kun-Sung Chung 1 www.kschung.com 11 Digital
lll ustrator CS2 l1as been used from start to finish to create these illustrations. Most of them use just three tools: pen, grad ient, an d
transpa rencies. lnspired by the concept "less is more," filters and effecls have been avoided where possible.
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2
1 and 2 : lllustrations © Kun-Sung Chung 1 WINW.kschung.com
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4
3 and 4 : lllustrations © Kun-Sung Chung 1 WINW.kschung.com
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lnoue Taiji 1 mooz.com .br/rti9 11 Digital
To create th ese illustrations, first the figures are drawn in pencíl and then scan ned. Once digitalized, the color is applied. Flat inks are used
for this and different shades are combined in a single ga rment to crea te volume.
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nando&silvia/potipoti Graphic Division 1 www.potipoti.com 11 Digital
Th is is an unconventional and fun way of ill ustratin g fash ion, where the classic figure is not used. Drawings done using markers are
com bined with pieces crea ted in Free hand, which allows for the creation of diffe rent motifs on the garments.
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Avsh Alom Gur 1 www.avshalomgur.com 1/ Co//age
Th is is a particular style that salvages a classical , low-tech piece of equi pmen t: the photocopier. A photograph is introduced , wh icl1 is copied
as a negative, and during the process the tray is drawn on to create movement. The fi nishi ng touches are done w ith markers.
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Essential Fashion Illustration Color and Medium

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Essential Fashion Illustration Color and Medium

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ESSENTIAL

Digital edition: 978-1-61060- 142 -9

Publisher: Paco Asensio

Sketches are made of the The 1in es th at are not goi ng

Finally, the light and shadow

Since color w il l be the most With the same color penci l

Once all the co lors have

A figure is sketched in a The figure is outlined and th e

The shadows are drawn, first

A sketch is done of th e The checks are drawn w ith

The lines in areas where

The figure is drawn in an The figure, which has taken

Different q ual ity penci ls are This coat ca n also be done in

Different sketches of the A hard pencil (2H) is used lo

Vo lume is given to the glove

The hat is begun by way of a The edges of the hat are

Pencils of di fferent ha rdness

A sketch of the boot is done, Once the figure ha s been

The grad ient shading

Sketches are done to define The different ga rments are

In this step the figure is The first details are drawn,

The volumes are modeled A color is integrated into the

Co lor is also applied to The last step is lo go over the

Shading is created to donate The last step is to paint in

For the pattern, a fi ne brush

The garment is drawn in Va rious layers are applied in

Once va rious layers have Once the desired volume

The fi rst step is to draw the With a th ick brush, a fi rst

In arder to clearly show that it With a da rke r color (li lac)

The last step is to pa int the

Different layers are applied Careful ly take off the mask

A fi ne-poi nted soft penci 1 is The next step is to color the

To better appreciate the Next, the dress is given color.

With a pencil the figure is The first co lori ng is applied

To enhance the volume of In this step , th e shading on

------------- ------------------------------------------------------------------------ ------------------------- ------------------------------------------------------------------------------------------------- ----- -·

Once it has d ried , th e last La st, details like the shading

The figu re is drawn on The darker shadi ng from the

A sky-bl ue pa stel is used

' ( q¡¡ Al· 1 .,1, ·; .

Mohair is a material w ith a For th e fu r of the moha ir,

·------------ --------------------------------------------------------- --------------- ------------------------- ------------------------------------------------------------------------------------------------- ----- -·

In this case, the pastel is For the ta rtan pattern, the

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Different shades of the co lors

The coat is draw n, The outline of the coat

The same details are

The outl ine of the head with The pattern, in th is case

The last step is to create the

The figure with the sa rong is To reproduce all the different

For the different tones of the

Since most ea rmuffs come in

With short, quick strokes

The figure is drawn and To create t he volume, a darker

White is used to highlight the

------------- ------------------------------------------------------------------------ ------------------------- ------------------------------------------------------------------------------------------------- ----- -·

The waistcoat will be blue. The skirt is colored light green.

A little co lor is added lo the In this step, certain details

The boots and leggings are The last detai ls are

With a pencil the si 1houette The figure to be illustrated is

1 volume of th e top. This is

A medium-ti p ma rker is More layers are applied over

The jersey on the fígu re ís Two tones from the same